My Mother Buys Condoms, written by Helmi Yusof, is part of Wild Rice’s Theatre Festival this year and will run at Lasalle College of the Arts’ Creative Cube from the 14th to 24th of July 2016.

This comedic play focuses on 63 year old retiree Maggie (Lok Meng Chue) who gives tuition at home and has recently separated from a cheating husband. She is financially helped by her children Wilfred (Joshua Lim) and Gwen (Seong Hui Xuan), whom Maggie wishes would visit her more often. Together with her fellow-retiree teacher, close friend and neighbour Nora (Elnie S. Mashari), Maggie lives a nice and comfortable albeit lonely life. So when a visiting air-conditioner repairman Raju (Remesh Panicker) makes arrangements with the retired literature teacher Maggie to teach him how to read and write in English, sparks fly, romance blossoms, and eventually sex occurs – but not if Wilford has anything to say about it.

When the relationship comes to light, it is only Gwen who stands by her mother’s love and newly revived sexuality. Gwen herself is a closeted lesbian, who has been in a relationship with her female housemate since she was 16 years old. Meanwhile, Nora feels that Maggie’s relationship is disgusting because not only is she having sex outside a marriage, but also because Raju has visited prostitutes previously – and incidentally thereby making it imperative for the couple to use condoms for protection – which also explains the title when Wilford finds this out.

Yusof does a good job in presenting all sides of the story, without making it preachy; he leaves it to the audience to decide on which side they stand. On one hand you have Maggie who is having a sexual awakening and is in love. In one scene Maggie even tells Nora she’s never had such powerful orgasms before and implies that her new man is rather well proportioned too. It’s rare to see women above a certain age claim this sort of sexual excitement, and it’s refreshing to see this here.

However, on the other hand, you also have Nora and Wilfred who argue that a woman past a certain age should not be experimenting with sexuality, as she ought to have grown up by now, as Nora chides her friend. This isn’t an easy point to support in this day and age where people are routinely encouraged not to hold back from aiming for something just because of a small matter like age. However, because Raju has a sexual past the includes paying strangers for sex, Yusof makes it easier to understand Nora’s and Wilford’s point about his sexual past being a moral issue.

In the end, whether you agree with either side or both sides or none of the argument, Gwen probably summarises it best when she tells her mother that as long as people are different, there will be people who are against their behaviour and will want to tear them down. Morality is a difficult thing for everyone to agree upon. There is no right or wrong answer; there is no black and white here. We all decide for ourselves in the end – and we have to learn to accept (and continue to love) when others decide differently. That is the important message behind this play.

The acting is good, and the set is very eye-catching as it looks exactly like an HDB flat – complete with a working tap!

Overall, the dialogue is quite funny but could use a little more humour, and there is no need for the predictable and tired plot point of Gwen being a lesbian, as if one needs to be on the fringes of society in order to support a mother’s freedom to love and have sex.

Having said that, My Mother Buys Condoms still offers a unique viewpoint of senior citizens continuing to live, even if that means rediscovering the joys of sex.

]]>http://blogcritics.org/theatre-review-singapore-my-mother-buys-condoms-by-helmi-yusof/feed/0Theatre Review (Singapore): Wild Rice’s ‘Hotel’ by Alfian Sa’at and Marcia Vanderstraatenhttp://blogcritics.org/theatre-review-singapore-wild-rices-hotel-by-alfian-saat-and-marcia-vanderstraaten/
http://blogcritics.org/theatre-review-singapore-wild-rices-hotel-by-alfian-saat-and-marcia-vanderstraaten/#respondThu, 21 Jul 2016 15:27:38 +0000http://blogcritics.org/?p=5459053Critically acclaimed across all media at 2015’s Singapore International Festival of Arts, and having swept four awards at this year’s M1-Straits Times Life Theatre Awards including the award for Production of the Year, Wild Rice’s production of Hotel returns for a second run at LaSalle College of the Arts’ Singapore Airlines Theatre from June 30th to July 24th, 2016.

Written by Alfian Sa’at and Marcia Vanderstraaten, and directed by Ivan Heng and Glen Goei, Hotel is an epic play in two parts that collectively span almost five hours to tell the tale of a hotel in 1915, built during Singapore’s British colonial period and modeled after the island’s iconic Raffles Hotel. Across 100 years, we see vignettes depicting each decade and learn how connected to each other the guests of the hotels are across the century, culminating in Singapore’s 50th birthday last year.

From a young bride finding out more about the questionable pleasures that interest her husband, to an abused Chinese maid, to a Malay-Japanese couple finding themselves torn as World War II ends, to the complexities of real feelings at an interracial wedding and how terrorism has unfairly turned innocent Muslims into the ‘usual suspects’, Hotel’s stories set in the past easily mirror current situations, subtly but effectively.

Sa’at and Vaderstraaten have penned engaging stories that excite as much as they intrigue. The show is especially fun when stories intertwine. Most are absolutely superb and captivating, and maybe because of this, a couple pale, albeit only in comparison – notably the 1935 story of a séance with a skeptical Brit; the 1955 segment about P. Ramlee wanting to direct a more truthful movie; and the 1975 vignette about an encounter with transvestites who experiment with drugs. These tales were full of slapstick, but could’ve used more witty humour or emotional heft.

Having said that, the acting by the entire ensemble is splendid, and whilst trying to spot standouts is difficult, special mention has to be made of Julie Wee who exudes such natural and effortless skills that she is completely believable and convincing in diverse roles as a newly wedded English bride in 1915, a local bride in 1995, and in 2015 an Australian chef; Wee also genuinely portrays a wannabe actress in between, in the 1955 P.Ramlee story.

Another standout is Sharda Harrison who speaks Japanese, Malay and English across several tales that have her playing across a myriad of ethnicities, ages and accents, to remarkable perfection.

Also of an astoundingly high standard are the costumes that change with the times, and the set design which seamlessly changes furniture and wallpapers across the hundred years of depiction.

Don’t expect Hotel to have happy endings and unrealistic closures. Much like life itself, Hotel shows that sometimes a mother’s love is heartbreakingly not returned, and that oftentimes romantic love doesn’t survive pragmatic matters: at times racist parents will never truly accept someone of another race marrying into the family.

Whilst most of the usual Singapore stories tend to paint an idealistic but terribly sanitized, unrealistic and unsound image of all races in Singapore getting along, sitting together under the tree, holding hands and singing Kumbaya, Sa’at and Vanderstraaten are not afraid of painting things as they truly are at times.

And this is where Hotel shines: in its astute, unadulterated and sensible view of Singapore. It is precisely because of this that Hotel needs to travel beyond our tiny island state. These are exactly the types of Singapore stories that the world would be fascinated to watch: raw, real, riveting and resonant.

This version is the updated 2010 production created to celebrate the show’s 25th anniversary and reinvigorated with new direction and set pieces. But the story remains the same. Based on the 1862 Victor Hugo novel of the same name and set between 1815 to 1832, the musical tells the tale of Jean Valjean and his pursuit by the policeman Javert as Valjean and his adopted daughter Cosette deal with the impending revolution around them.

This famous musical is known for its haunting and memorable songs like “Do You Hear The People Sing?”, “I Dreamed A Dream”, and “On My Own”, and these are performed with crystal-clear perfection. The cast includes Simon Gleeson as Valjean, Earl Carpenter as Javert, Paul Wilkins as Marius, Emily Langridge as Cosette and Patrice Tipoki as Cosette’s mother Fantine. Although Gleeson and Carpenter stand out with their rich-toned voices, it is when the entire ensemble hits the last high note on “One Day More” that one realises it’s a team effort to deliver such a momentous, moving and magical musical experience to the audience.

Aside from the superb singing and score, Les Misérables‘ success also lies in its ability to juxtapose comedy and pathos within its story of gloom and doom. Scenes such as Cosette’s foster parents performing the funny number “Master of the House” and the love-segments between Cosette and her boyfriend Marius add to the emotional heft in this production.

My only small complaint is that the young actor who plays little Gavroche is difficult to understand both in speech and song. Being just eight years old and from Australia, it is understandable that perhaps he couldn’t make Gavroche’s cockney accent more decipherable.

The set and backdrops are elaborate and exciting, with their ability to turn from Valjean’s estate to the dirty bar house where Cosette is raised, then to a cave where Valjean carries a comatose Marius injured in the Revolution. The costumes are equally impressive and apt for the various social classes of that era.

In the end, Les Miz proves a timeless musical, still with remarkable visual and aural splendor more than 30 years on.

]]>http://blogcritics.org/theatre-review-singapore-les-miserables/feed/0Theatre Review (Singapore): ‘A Clockwork Orange’ by Anthony Burgesshttp://blogcritics.org/theatre-review-singapore-a-clockwork-orange-by-anthony-burgess/
http://blogcritics.org/theatre-review-singapore-a-clockwork-orange-by-anthony-burgess/#respondWed, 30 Dec 2015 15:35:47 +0000http://blogcritics.org/?p=5448573Action to the Word’s tour of A Clockwork Orange by Anthony Burgess brought the play to Singapore from the 4th to 8th November 2015, at the Esplanade Theatres.

This stage version of A Clockwork Orange (usually subtitled “A Play with Music”) tells the same tale as the book and movie with the same name, the story of Alex (Jonno Davies) and his gangster friends who terrorise their town with criminal antics that include rape and murder. When Alex gets caught one day, he is offered experimental psychological conditioning in order to get an early release. Accepting, he is reconditioned to feel sick at the thought of violence and sex. But is this going to be a permanent change?

The novella A Clockwork Orange was written in 1962 and the acclaimed and infamous movie was made in 1971 by Stanley Kubrick. This musical/stage version came about in 2011 when it was created for the London Fringe, some 40 years after the movie, and almost 50 years after the book. Hence the themes and messages are showing their age.

The themes – of control verses free choice (especially government control), of violent and hypersexual teenage behaviour and angst, and of homoeroticism (which emerged first in the film version and carries over to this stage adaptation) all feel terribly dated and uninspiring in this play. In the 40-50 years since the book and movie, we’ve seen many many television programs, motion pictures and plays tackle these issues, especially that of homoeroticism, more deeply and better.

Also, in today’s world, the plot of A Clockwork Orange would be called meandering and tedious, with too many implausible conveniences thrown in, in what what we’d now term ‘lazy writing’. For example, the lady whom Alex murders has a husband whom Alex cripples – and coincidentally, when released from prison, Alex finds himself in this man’s house.

In addition Nadsat, the fictional language the characters in the book, movie and play speak, is really gibberish to the average English speaker and fills too much of the production. With even the language not understandable, you’re left even more unmotivated to follow the plot. Maybe once upon a time Burgess was heralded for making up his own language, but in this day and age it’s a turn-off.

Overall, whilst this production does have very stylized dance moves and music, they don’t make up for the old and tired themes, meandering plot, and off-putting Nadsat lingo.

And just how irrelevant are the themes today? Ironically, Singapore banned the movie and book for 40 years, but lifted the ban in 2011. So if Singapore’s decision makers have already come around to accepting violent and sexual (including homosexual) behaviours, clearly the shock value A Clockwork Orange had once upon a time just isn’t here anymore.

]]>http://blogcritics.org/theatre-review-singapore-a-clockwork-orange-by-anthony-burgess/feed/0Restaurant Review (Singapore): Kaiserhaus in Capitol Buildinghttp://blogcritics.org/restaurant-review-singapore-kaiserhaus-in-capitol-building/
http://blogcritics.org/restaurant-review-singapore-kaiserhaus-in-capitol-building/#respondTue, 29 Dec 2015 22:31:15 +0000http://blogcritics.org/?p=5448562Singapore’s first and only Austrian restaurant, Kaiserhaus, has opened in Capitol Building, serving both lunch and dinner daily. The restaurant opens at 10.30am and closes at midnight every day (except for Fridays and Saturdays when it stays open until 1am).

Not only is the two-level restaurant situated in one of Singapore’s most beautiful whitewashed colonial buildings, it is handsomely furnished with upholstered chairs and chandeliers, occupying ample space on the second and third floors of the neo-classical Capitol Building. Kaiserhaus is tucked out of sight in a corner, though, so you might have to follow the signs carefully to find the main entrance.

This restaurant doesn’t serve only strictly Austrian fare, it also has some dishes and influence from the greater Central Europe area.

For starters, do try the Tafespitzsulze / Gourmet Beef Aspic ($15) which is served with two kinds of bread – a kaiser roll and a slice of rye bread – and also comes with a small portion of salad made up of cherry tomatoes, baby pickles and quail eggs. The beef-in-aspic slices are wonderfully flavourful with the right amount of sourness.

The Crispy Fried Mushrooms ($12) also didn’t disappoint. Crispy, with no oiliness, these button mushrooms were delightful and tasty. This starter comes with a special Austrian potato salad that has a superb tangy vinegar taste.

Tafelspitz / Gourmet Beef

For the mains, there’s Austria’s national dish, Tafelspitz / Gourmet Beef ($38 for one, $76 for two), which is beef served in a bouillon (broth). The beef is cooked for many hours, and literally melts in your mouth – yes it’s that tender!

In addition, the broth contains a bone with marrow. The marrow is traditionally spread on the toasted rye bread supplied. The fatty and rich marrow is truly divine when eaten in this way.

Other sides that come with the Tafelspitz include rosti potatoes, spicy horseradish sauce, and creamed spinach that is so well done that even if like me you’re not a fan of spinach, you’ll find yourself reaching for this deliciously creamy accompaniment.

Wiener Schnitzel / Viennese Schnitzel

Also found here is another of Austria’s national dishes, one that is better known the world over: none other than the humble Wiener Schnitzel / Viennese Schnitzel. Here you have a choice of veal ($38) or pork ($29). We chose the veal and found it to be bursting with flavour, not oily even though it is deeply fried, and tender too.

This dish comes matched with the vinegar-based potato salad (the same one that comes with the beef aspic), along with a lemon-cranberry ragout.

Emperor’s Pancakes / Kaiserschmarrn

For dessert, you shouldn’t miss the appropriately named Emperor’s Pancakes / Kaiserschmarrn ($15), which are caramelised shredded pancakes with rum-soaked raisins and plum compote. I found the compote much too sweet, but the pancakes were simply divine, both in smell and taste, and good enough to devour on their own, without the sweet side sauce.

Mozartknodel / Mozart Dumplings

If you love ice cream and all things cold for dessert, then opt for the Mozartknodel / Mozart Dumplings ($13) which are balls made up of marzipan and nougat pralines, then rolled in sweet crumbs to make a crust. These dumpling balls are served with a dollop of pistachio ice cream along with some marinated raspberries.

There is an extensive selection of wines, beers, spirits, mocktails and cocktails, soft drinks, and fruit juices as well as tea, coffee and chocolate.

They don’t have any ice wine / eiswein here which is a shame as Austria is a known producer of this type of dessert wine, but do try the Sämling Beerenauslese from Austria’s very own Gasellmann Estate ($12 for a glass, $95 for the bottle) which is also a late harvest sweet wine, or the Schönbrunn cocktail ($16) made up of limoncello (a lemon liqueur from Italy), vodka, thyme and passion fruit purée. And for the teetotalers, we suggest the Omi’s Apfelstrudel Saft ($5), a refreshing concoction of apple strudel juice with cinnamon.

In conclusion, if you crave the tangy sour stuff like I do, then you will absolutely fall in love with the dishes at Kaiserhaus, for vinegar is used abundantly in its cuisine.

But even if you don’t especially love sour, but love good food, Kaiserhaus will appeal to you as all the dishes we tasted are nothing short of delicious.

Also, the portions are huge. So if you have moderate appetites, I would suggest splitting two mains amongst three people if you’re also having starters like we had. Even the starters are of a good size, and the Gourmet Beef Aspic can easily be a light meal on its own.

So if you are eager to dine on some highly delectable Austrian dishes, or if you love your food tangy or vinegary, or if you simply want to get the most out of your dollar, I would strongly recommend Kaiserhaus for your next meal. You won’t be disappointed.

]]>http://blogcritics.org/restaurant-review-singapore-kaiserhaus-in-capitol-building/feed/0Theatre Review (Singapore): ‘The Emperor’s New Clothes’ at Wild Ricehttp://blogcritics.org/theatre-review-singapore-the-emperors-new-clothes-at-wild-rice/
http://blogcritics.org/theatre-review-singapore-the-emperors-new-clothes-at-wild-rice/#respondTue, 08 Dec 2015 22:05:11 +0000http://blogcritics.org/?p=5447230Wild Rice’s annual year-end pantomime is here, and this time the company explores The Emperor’s New Clothes, written by Joel Tan and directed by Pam Oei. The panto will play at the Drama Centre from 20th November to 12th December 2015.

The Emperor’s New Clothes is based on the famous children’s fairy tale of a vain and arrogant emperor who thinks a pair of tailors are making him a suit that only the most noble of people can see, but in the end it takes a child to show the emperor that he is naked instead.

In this Singaporean version, the two tailors are Nate (Benjamin Kheng) and Khai (Sezairi Sezali) who were raised in an orphanage as brothers. The Emperor (Lim Kay Siu) oversees a land where there’s an annual NDP (not the National Day Parade, but rather the New Dress Parade), an occasion the self-indulgent Emperor looks forward to every year. However the 49th year of the Parade becomes a problem when foreign media comment negatively on the Emperor’s clothes. So hoping to do better with the 50th, the Emperor imprisons his earlier critics, and scouts for the best tailors to make his next NDP outfit – eventually giving the job to Nate and Khai. But when Nate and Khai discover the Emperor’s hidden dungeon of captives, they decide to teach him a lesson in being less selfish and self-centred.

The acting and singing are good, but Sezali’s vocals sound slightly weaker next to Kheng’s richer tones. Also, whilst Elaine Chan, who has helmed previous Wild Rice pantos, came up with very catchy melodies, I was disappointed that Julian Wong’s music is just not enticing enough. Aside from ‘A Plan So Invisible’ which is the last song of Act 1, performed just before the intermission, the tunes don’t seem to have any captivating hook.

Unfortunately I also found the script to be not as funny as those of past years. Sure there are laughs for the kids, but not many for the adults, even if the political and social innuendos are there.

In addition, Singapore-based multi-millionaire American businessman Jim Roger’s daughters Happy and Bee were given the limelight in these Wild Rice pantos in the last two years because of their ability to speak Mandarin. In this production though, Bee’s character of an angel speaking Mandarin seems misplaced, and comes across as a cheesy effort to get easy applause for a Caucasian child’s ability to master a local Asian language.

Having said that, the singing and acting from the entire cast are good, especially Audrey Luo who plays the Emperor’s neglected wife, as well as Siti Khalijah Zainal, Andrew Lua, and Benjamin Wong who play the Emperor’s Ministers. Portraying the foreign press, Bejamin Chow and Andrew Marko effortlessly do a slew of convincing foreign accents that range from Australian to Thai.

Some of the performers even play instruments live, such as Kheng and Lim on the violin, and Benjamin Wong on the flute. With his crystal-clear falsetto and musicianship, the scatterbrained physical comedy he brings to the role, and his subtle but layered expressions and body movements, Wong easily stands out in this production.

I have reviewed Wild Rice’s pantomimes since 2012, and I think I can with some authority that nothing beats the awesomely wonderful pairing of Elaine Chan and Alfian Saat, as memorable music maker and humorous dialogue creator respectively, that brought about belly laughs and music you found yourself humming on the way home in pantos past.

This year’s panto definitely feels lacking in those terms, although kids are going to love the colourful sets and costumes, the child-friendly jokes, and the interactive factor. So bring the kiddies and let them enjoy The Emperor’s New Clothes – because after all, from a kid’s point of view, nothing will be lacking in this production. Not even a stitch.

]]>http://blogcritics.org/theatre-review-singapore-the-emperors-new-clothes-at-wild-rice/feed/0Theatre Review (Singapore): ‘Beauty World’ by Dick Lee and Michael Chianghttp://blogcritics.org/theatre-review-singapore-beauty-world-by-dick-lee-and-michael-chiang/
http://blogcritics.org/theatre-review-singapore-beauty-world-by-dick-lee-and-michael-chiang/#commentsThu, 03 Dec 2015 20:14:25 +0000http://blogcritics.org/?p=5446748Dick Lee and Michael Chiang’s 1988 musical Beauty World returns for a run this year at the Victoria Theatre, from November 13 to December 12 2015.

Co-Written by Lee and Chiang and directed by the former, Beauty World tells the tale of Ivy Chan (Cheryl Tan) who runs away from her life in Malaysia’s Batu Pahat and heads to the glitzy life in Singapore, in the hopes of finding her father who abandoned her as a baby. With the help of her penpal Maryann Joseph (Frances Lee), Ivy tries to navigate the world of entertainment and cabaret politics at the club Beauty World – the last place she thinks her father worked, as that’s the name on a pendant he left her.

The singing is mostly top-notch. Tan has a crystal-clear singing voice that is sweetly melodious and she carries each song perfectly in tone and pitch.

However, the limelight stealer here has to be Ms. Lee, who not only has powerful and tonally rich vocals but is able to bring a nice charisma and charm to her witty and comedic role. Noticeably slimmed down from the last time this critic saw the actress in Fat Pig and Monkey Goes West, Ms. Lee is still a force to be reckoned with on stage, and easily steals the spotlight. She is able to deliver her lines with a genuinely natural air and portray an innocence when needed, and yet bring the spunk and attitude when Maryann comes face to face with Lulu (Jeanette Aw), Beauty World’s top Cabaret Girl.

In fact, Aw’s performance pales in comparison to Ms. Lee’s in a duet number in which the two sing off against one another. Aw’s portrayal of Lulu seems uninspired and humdrum. It wasn’t until after the musical that this critic was informed by the publicists that Aw is a big deal, as she’s an accomplished Mandarin television actress. I had no idea, as aside from the fact that I don’t watch Mandarin television shows, the character Lulu simply doesn’t stand out at all in this production.

Jeanette Aw as Lulu. Photo by Alfred Phang.

As an aside, in a November 20 interview with The New Paper Aw addressed critics’ negative commentaries regarding her singing skills, insisting that the character is meant to be a ‘sexy singer’ and not a ‘fantastic one’. Strangely Aw seems totally oblivious to musicals that have sexy characters who are played by performers who can sing! (It’s a ‘musical’ still!) Whether or not a character is sexy or slutty or whatever, the point is the artist behind the role is still expected to be able to sing well. With such a flimsy excuse, one really does wonder if Ms. Aw has ever been to a musical herself.

According to the same article, she also seems to think her poor singing should be excused simply because she has put in a lot of effort. This critic feels like someone should tell the actress that people pay good money to see a good performance, and not to see ‘effort’ behind a bad performance. (Her statement is especially illogical given that she’s been in the limelight in the Mandarin market for some time and should know ‘effort’ plays no part in the fulfilment of audiences. Or critics.)

And she ends by saying that she only wants to listen to criticism from ‘people she respects’ like Mr. Lee, who apparently said she had sung well, and Chiang who praised her as the best Lulu ever. If Aw only wants people to reassure her that her weak voice is acceptable, then why present her skills to the public in a production that sells tickets to the masses?

But I digress. Back to the show: Another drawback is that not only is the story of Beauty World dated, predictable and uninteresting, the music is also not memorable. Lacking punch and a good hook, the melodies are just not catchy enough in today’s landscape of modern musicals. The only song that has withstood time is maybe the main theme song.

Having said that, the singing is good (aside from Aw’s), the mostly Singlish dialogue is still funny, and there is an outstanding performance by Frances Lee that makes Beauty World worth checking out.

Ghost the Musical is the musical adaptation of the 1990 Oscar-nominated and sleeper hit movie Ghost. Both versions tell the tale of Sam (Liam Doyle) who lives with his lover Molly (Lucie Jones) but can’t seem to tell her the three words “I love you.” Sam is killed, and the audience follows him as he discovers that his death was planned as a murder by someone he least suspected. With the help of medium Oda Mae Brown (Wendy Mae Brown – yes, it’s her name) and other ghosts, Sam must find a way to warn Molly about what he’s found out.

This musical version unfortunately pales compared to the film, as the acting of Demi Moore who played Molly, Patrick Swayze who took the role of Sam, and Whoopi Goldberg who portrayed Oda Mae was flawless and enticing (Goldberg won the Oscar for Best Supporting Actress). In this production, the actors Jones, Doyle and Brown were not convincing or natural enough. Not that they were bad, but in comparison to the three thespians in the film version who really embodied their roles fully, the musical actors seemed to just be playing their parts.

The music and lyrics were also unmemorable as the tunes were not catchy and you’d be pressed to remember the melody of any of the songs once you left the theatre.

Having said that, Jones, Doyle, and Brown – along with David Roberts who plays Sam’s best friend Carl – certainly have very powerful singing voices that produced crystal-clear notes in perfect pitch. It was just a pity their voices were not utilized in better songs.

The big highlight of this musical were the illusions and tricks used to create some of the more ‘how’d they do that?’ supernatural moments. It isn’t a small matter attempting to portray ghosts that can zip in and out of moving trains or strangle people – the movie of course did it with computer effects – so kudos to the production for installing these impressive tricks organically within the plot.

Another highlight was the very cleverly designed set, which was able to show Sam and Molly’s apartment and yet change to convey a dark street and later Carl’s office.

All in all, Ghost the Musical doesn’t tick all the boxes to be a superb production, but what it does tick, it does very well indeed.

Totem is a story about man’s relationship with nature, as well as with the flora and fauna around us. As with most Cirque du Soleil productions, there isn’t a solid narrative, which some might find problematic if you’re looking for a logical plot. Rather, imagery and connotative stories take centre stage.

As the performers took on the roles of frogs and apes amongst others, they didn’t fail to impress with their superhuman flexibility and daring. Jumping from high beam to higher beam, swinging on swings looming above, and managing precarious balancing acts – the Totem performers deliver on all those fronts. The show is indeed a canvas of what the human body – and mind – can do.

The mesmerizing set is a fabulous co-star. A slanted piece of structure cleverly placed hosts projected images, thereby making a pond, a sea, a dessert-like landscape, a vibrant grassland and other elements of nature seem to be actually there on stage.

The elaborate costumes are another highlight. Ranging from multicoloured amphibians to the delicate costuming of a ‘fairy’ to glittering and shimmering body suits, they captivate as much as the set and the performers do.

Totem completely transports you into another world – one that is magical, fantastical and out of our usual realm of reality. For almost two hours, you’ll be enchanted by this world along with the acrobatic feats. The show will also remind adults of a time when their imagination seemed so real. The Cirque du Soleil tends to do that.

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]]>http://blogcritics.org/theatre-review-singapore-totem-by-cirque-du-soleil/feed/0Interview: Neelanthi Vadivel, Artistic Director of Cirque du Soleil’s ‘Totem’http://blogcritics.org/interview-neelanthi-vadivel-artistic-director-of-cirque-du-soleils-totem/
http://blogcritics.org/interview-neelanthi-vadivel-artistic-director-of-cirque-du-soleils-totem/#respondFri, 20 Nov 2015 15:42:22 +0000http://blogcritics.org/?p=5446204Neelanthi Vadivel is the Artistic Director of Cirque du Soleil’s show Totem. We asked her a few questions about the production and her involvement in it.

What is Totem all about, storywise?

Totem is a visual feast of high-level acrobatics displayed within a lush scenic environment created with interactive projections and colourful costumes. It is a non-chronological journey through man’s evolution from swamp creature to cosmonaut.

What sort of acts are incorporated in the show?

Totem incorporates a variety of disciplines that are raising the bar again for Cirque du Soleil. One of the highlights of the show is a duet perched high on a Fixed Trapeze, performing jaw-dropping acrobatics while telling the story a two young adults falling in love. It is the perfect balance of emotions and stunts. Each act is beautifully staged and brings a unique set of skills. We even reinvented the art of juggling by creating a conic structure in which a juggler rolls glowing balls around his body; it looks like a scientist is manipulating atoms inside a giant beaker!

What will audiences enjoy most about this production?

My own favorite part is definitely the music and the way the entire show makes you feel when you leave the tent – generally euphoric. I think the audience will enjoy being carried away by the beats and earthiness of Totem; it is traveling through eras and various parts of the world without leaving your seat. The costumes, the video projections and the set are a sublime support to the thrilling skills of acrobats; the whole package is simply gorgeous.

How long did it take to craft the production, from vision to finished product? In what year did this take place?

Totem opened in April 2010 after close to three years of idealization, pre-production, casting and creation. There is a lot of work done by the creation team before the artists step [into] the rehearsal room. Artists usually come in in the last eight months of the process.

Could you tell us a bit about yourself? How did you come to be the Artistic Director of Totem?

I joined Cirque du Soleil as a dancer in the production Dralion. In 2009, I hung up my dancing shoes to transition into management as an assistant to the Artistic Director. In 2010, the company handed me the reins of the production Saltimbanco and I have not looked back since.

How has your experience been so far being overall in charge of this show?

My role is to maintain the original intent of the creative director, Robert Lepage, within the high quality standards of Cirque Du Soleil. I also manage the 46 artists in the cast and continuously challenge them to improve and grow.

Do you go to plays or musicals?

I do! It is important for me to see other shows and genres than Cirque du Soleil and be fed creatively. I also like to see what is out there and what audiences like to attend.

Which is your favourite play and/or musical?

My favorite musical would be Once. I love its storytelling, its stage directing and the unique talent of the actors who also have to be amazing singers and musicians.